First, a disclaimer.
If you are under the age of, say, forty, this piece is going to have very little relevance to your life.
Even less if you are under the age of twenty.
So, if you are pressed for time and have no particular interest in ploughing through what will very likely read to you as an arcane, bordering on anachronistic, assessment of a events that took place a long time ago, in a galaxy far, far away, please know that no offense will be taken if you opt to jump off the page and move along with your day at the conclusion of the very next, and very short, paragraph.
Thanks for stopping by.
Tomorrow, John Lennon would have celebrated his seventy first birthday.
And like most birthdays, this one has the dual effect of reminding us there is cause for commemoration and/or celebration as well as reminding us that yet another year has rolled over on the meters of our own personal life taxis.
Made out of newspaper and appearing on the shore.
And, then, there's that whole "oh, Lord, here comes another twenty four hours, give or take, of not being able to swing a dead cat without hitting a TV or radio that is, has been, or is about to be, playing some or all of "Imagine".
Or, better or worse depending on your personal pop palate, "Birthday".
Yes, we're goin' to a party, party.
In 1963, Jacqueline Kennedy Onassis poetically lamented, following the assassination of her husband, John F.,"...so now he is a legend, when he would have preferred to be a man...".
Loath as I am to put words in anybody's mouth, I can't help but think that John Lennon would feel the same way.
Lennon himself alluded to the concept, years ago, when he summed up, in one of the myriad of interviews he and his fellow fabs gave along the way, how he perceived his particular place in the sun.
"...we were just a good pop band that got very, very famous...".
And, given his rebel with a cause approach to most things, I imagine (sorry, the word does inevitably show up as a verb now and then), that he would have experienced a considerable disdain at becoming the fodder of tribute shows, coffee mugs and weekend music marathons.
Especially given the way he sardonically, if not too subtly, mocked the way his much loved/loathed kindred spirit/sibling ran willingly into the limelight of mainstream adoration and acceptance.
And what's wrong with that? / I'd like to know.
Personally, I remained musically loyal to John and his work pretty much right up to the end.
Truth be told, though, I lost interest somewhere shortly after the first solo album.
Actually, even midway through it.
Because my affection for the work was rooted in the love of the taste of the entire recipe.
I never much cared for coleslaw by itself.
But I totally relished it as long as the three pieces of extra crispy, mashed potatoes and gravy were along side to make it all come together (right now..over me).
So, to each his own noted and notwithstanding, I'll be taking a pass on any media musings on the life and times of the "leader Beatle" today or tomorrow and, in the process, will hopefully avoid having to do any weekend wondering about how easy it would be if I try.
And if I should meander into a mood that demands a little looking back, I'll pull a couple of tunes that say more to me about the diversity and depth and talent, as both singer and/or songwriter, of the guy than any dozen imaginings.
Happy birthday, Johnny. You're the toppermost of the poppermost.
Saturday, October 8, 2011
Monday, September 5, 2011
"...Waylon and Willie and The Boys....Say Hello to Jeff..."
Truth, the old adage offers, is often stranger than fiction.
How about when the truth is fiction?
Or, more to the point, when fiction offers up more truth than truth offers?
Got that ice cream headache in the middle of your forehead yet?
Twisted fortune cookie wisdom notwithstanding, it occurs to me that there is, among other things, a delightful irony in the fact that the product being offered by a fictional country singer seems more real than the lion's share of the merchandise rolling off the 16th Avenue assembly line these days.
After all, when someone says "essential, seminal, no frills, roots edged country music artist", I'll bet my Rorschach against your Rorschach that the first name that pops to mind is not Jeff Bridges.
And what fun to find that it pert near oughta be one of the first names that pops.
My good old days in Nashville taught me a lot of things, among them that Hollywood, historically, doesn't have a clue about Nashville.
From the early 60's when George Hamilton lip synced to Hank Jr's vocals as he "portrayed" Hank Senior (yes, kids, that George Hamilton) to such modern day Tinseltown missteps as "The Thing Called Love" and even George Strait's close, but no cigar turn as "Dusty Rhodes" in "Pure Country" (Strait was young and impressionable in those days, but I bet he doesn't have the same agent now as then...if only for allowing his client to portray a country singer named "Dusty Rhodes"...why not just name him "Music Rowe"?...), Hollywood has a near perfect record of cranking out crap, labeling it country and conspiring to cash in on the popularity of the format at any time the masses are paying attention.
In fairness, they are consistent about one thing.
They almost unfailingly portray Nashville, and country music, in terms of the way they think Nashville and country music should look and sound, as opposed to the way it actually looks and sounds.
Even the most recent high gloss "Country Strong" could just as easily have been made as "very special movie of the week" on Lifetime.
Or CMT.
Or both.
For my movie spending money, the Hollywood hoedown wanna be's have only gotten it close to right twice.
"Tender Mercies".
"Crazy Heart".
Robert Duvall got an Oscar for the former.
Jeff Bridges for the latter.
And, in both cases, the lead actor was the lead singer, performing material that met the criteria too often missing from the garden variety sour mash melodramas.
Authenticity.
Meanwhile, back to the irony, go in search of both the soundtrack to "Crazy Heart" and Jeff Bridges most recent, eponymous CD.
I think you'll be, as I was, surprised and delighted to find that the most throwaway stuff in either case are the inevitable "slickies" on the movie soundtrack.
The coolest, meanwhile, is the remainder of the soundtrack and the whole of the solo album.
In other words, production by T Bone Burnett and vocals by Jeff Bridges.
Amazing work.
And an oasis in a desert of paint by the numbers "country music".
Five stars from this seat in the peanut gallery.
And my fail safe litmus test as to the pristine quality of the product?
Bet your life savings that American Idol will never do a "Jeff Bridges Night".
How about when the truth is fiction?
Or, more to the point, when fiction offers up more truth than truth offers?
Got that ice cream headache in the middle of your forehead yet?
Twisted fortune cookie wisdom notwithstanding, it occurs to me that there is, among other things, a delightful irony in the fact that the product being offered by a fictional country singer seems more real than the lion's share of the merchandise rolling off the 16th Avenue assembly line these days.
After all, when someone says "essential, seminal, no frills, roots edged country music artist", I'll bet my Rorschach against your Rorschach that the first name that pops to mind is not Jeff Bridges.
And what fun to find that it pert near oughta be one of the first names that pops.
My good old days in Nashville taught me a lot of things, among them that Hollywood, historically, doesn't have a clue about Nashville.
From the early 60's when George Hamilton lip synced to Hank Jr's vocals as he "portrayed" Hank Senior (yes, kids, that George Hamilton) to such modern day Tinseltown missteps as "The Thing Called Love" and even George Strait's close, but no cigar turn as "Dusty Rhodes" in "Pure Country" (Strait was young and impressionable in those days, but I bet he doesn't have the same agent now as then...if only for allowing his client to portray a country singer named "Dusty Rhodes"...why not just name him "Music Rowe"?...), Hollywood has a near perfect record of cranking out crap, labeling it country and conspiring to cash in on the popularity of the format at any time the masses are paying attention.
In fairness, they are consistent about one thing.
They almost unfailingly portray Nashville, and country music, in terms of the way they think Nashville and country music should look and sound, as opposed to the way it actually looks and sounds.
Even the most recent high gloss "Country Strong" could just as easily have been made as "very special movie of the week" on Lifetime.
Or CMT.
Or both.
For my movie spending money, the Hollywood hoedown wanna be's have only gotten it close to right twice.
"Tender Mercies".
"Crazy Heart".
Robert Duvall got an Oscar for the former.
Jeff Bridges for the latter.
And, in both cases, the lead actor was the lead singer, performing material that met the criteria too often missing from the garden variety sour mash melodramas.
Authenticity.
Meanwhile, back to the irony, go in search of both the soundtrack to "Crazy Heart" and Jeff Bridges most recent, eponymous CD.
I think you'll be, as I was, surprised and delighted to find that the most throwaway stuff in either case are the inevitable "slickies" on the movie soundtrack.
The coolest, meanwhile, is the remainder of the soundtrack and the whole of the solo album.
In other words, production by T Bone Burnett and vocals by Jeff Bridges.
Amazing work.
And an oasis in a desert of paint by the numbers "country music".
Five stars from this seat in the peanut gallery.
And my fail safe litmus test as to the pristine quality of the product?
Bet your life savings that American Idol will never do a "Jeff Bridges Night".
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